Rodrigo Cortés is one of the special guests of TIFF.24, celebrated in the 3×3 section with three of his films: The Contestant (2007), Buried (2010), and the recently released Escape, which became the main focus of our conversation.
I read that you also worked in advertising. How much did that help you later on as a writer, director, and producer?
Actually, I worked in advertising after my first film. Somehow, after people saw it, they got the impression I came from the world of advertising – I’m not sure why. The truth is, only after my first film did I start getting offers from the advertising world.
And how was it?
I liked making commercials, especially because it all happens quickly. With a film, you have to write, then convince a bunch of people, get funding, shoot, edit… In advertising, all of that – from idea to release – happens in a month, sometimes even faster.
I liked it because I enjoy working under pressure, but it’s not necessarily something that connects to your personal artistic universe. It was a welcome challenge, especially since I got to make interesting commercials. I wasn’t doing “people eating yogurt” ads, but rather things with action, chases – very cinematic stuff, which is what I enjoy. I approached them in a very narrative way, so I liked it, but I don’t actually come from the advertising world.
I get the impression you just love stories.
(Laughs) I started writing when I was very young. I’m a professional writer, but only because I had access to a pencil before I had access to a camera. When I was very young, I also did theatre. I was even an actor, a very bad one, but it helped me understand actors.
On stage?
Yes, yes, for a while. I was very young and a very bad actor. I even did stand-up – I was better at that. The point is, all that experience helped me understand actors very well and build a good relationship with them.
Speaking of which, how much do you push the actors you work with? At least in Escape, it looked like Mario, the lead, had a very tough role.
Well… I do push them. I don’t pressure them, I don’t force them, but I push them. For me, what’s important isn’t giving strict directions or instructions, but creating the right emotional environment for things to happen. It wouldn’t make sense to tell them, “Feel this or that.” It’s more about saying, “Here’s what we’re aiming for – let’s see where it takes us.” Or maybe I do give directions, but not beforehand – so the actors always have to be ready.
I love working with actors and I have a very good relationship with them. I don’t think anyone would say I pressure them. But yes, I definitely push. In a way, you’re trying to get them out of their comfort zone – and that’s only possible if they trust you. If they don’t believe the director knows what they’re doing, they’ll just keep doing what they know, what’s safe for them.
They can only step out of their comfort zone if they know they won’t end up doing anything ridiculous, that the director won’t leave something like that in the film. If they feel that, they’ll jump into the role – and I love jumping with them.
Escape
Sunday, June 22, 20:45 – Military Club
Buried